In a newsletter for Bloomberg, Ashley Carman discusses the rising trend of long podcasts and their surprising popularity among listeners. “By today’s standards of interminable podcast discussions, a nearly three-hour recording isn’t even particularly notable,” she writes, highlighting recent episodes from Joe Rogan (2 hours; 16 minutes with Adam Sandler), Lex Fridman (8 hours; 37 minutes with Elon Musk), and the Acquired podcast (3 hours; 38 minutes with Lockheed Martin). “Increasingly, podcasters are pushing the outer limits of episode length while stress testing the endurance of their audiences. Popular podcast gabfests can now run on for half a workday or longer.” From the report: One might assume such marathon episodes must be the result of a hands-off approach to editing. But this is not the case, said Ben Gilbert, co-host of the Acquired podcast. Every month, he and his co-host David Rosenthal release a three- to four-hour podcast, detailing the story of a specific company. The in-depth histories, he said, are the result of nine-hour recording sessions and a month of research.

“It’s not important to ship every good minute,” Gilbert said. “It’s important to ship only great minutes. If you’re actually intellectually honest with yourself, that’s how to release a really good product.” Even with the longer runtimes, he said, their audience listens to the vast majority of each episode. Consider their deep dive on Lockheed Martin, which runs for three hours and 38 minutes. On Apple Podcasts, the average listener consumed 70% of the show, he said. An episode on Nike, which clocks in at upwards of four hours, had an average consumption rate of 68%. “Every time we made something longer… people only seemed to love it more,” he said. On the show’s website, the hosts describe the episodes as “conversational audiobooks.” […]

[Jack Sylvester, executive director at Flight Studio, the Bartlett-founded podcast company behind Diary of a CEO] said the team can view data around how much of the audience consumes episodes on YouTube’s TV app versus on a phone, tablet or computer. TV usage, he said, is ticking up. To give viewers a reason to keep the show on as their primary viewing experience, they’re now making sure the videos have a top-quality polish. Still, in a world in which people scoff at the prospect of a three-hour movie — and short-form video is the dominant consumption trend in entertainment — these podcasters are eagerly meandering in the opposite direction. “The short-form obsession ended up creating white space for us,” said Gilbert of Acquired. “Whenever you have a trend, that means there’s people who feel left behind and want to flock to something new. This sets us apart.”

Read more of this story at Slashdot.

More than a dozen new Immersive Videos are coming to Vision Pro, with the first, titled Boundless, launching last night. “The announcement follows a long, slow period for new Vision Pro-specific video content from Apple,” writes Ars Technica’s Samuel Axon. “The headset launched in early February with a handful of Immersive Video episodes ranging from five to 15 minutes each. Since then, only three new videos have been added.” From the report: Tonight’s Boundless episode will allow viewers to see what it’s like to ride in a hot air balloon over sweeping vistas. Another episode titled “Arctic Surfing” will arrive this fall, Apple says. Sometime next month, Apple will publish the second episode of its real wildlife documentary, simply titled Wild Life. The episode will focus on elephants in Kenya’s Sheldrick Wildlife Trust. Another episode is in the works, too. “Later this year,” Apple writes in its newsroom post, “viewers will brave the deep with a bold group of divers in the Bahamas, who come face-to-face with apex predators and discover creatures much more complex than often portrayed.”

In September, we’ll see the debut of a new Immersive Video series titled Elevated. Apple describes it as an “aerial travel series” in which viewers will fly over places of interest. The first episode will take viewers to Hawaii, while another planned for later this year will go to New England. Apple is additionally partnering with Red Bull for a look at surfing called Red Bull: Big-Wave Surfing. In addition to those documentary episodes, there will be three short films by year’s end. One will be a musical experience featuring The Weeknd, and another will take basketball fans inside the 2024 NBA All-Star Weekend. There will also be Submerged, the first narrative fictional Immersive Video on the platform. It’s an action short film depicting struggles on a submarine during World War II.

Read more of this story at Slashdot.

In a press release today, the best music player of the 1990s announced that it’ll open up its source code to developers worldwide. “Winamp will open up its code for the player used on Windows, enabling the entire community to participate in its development,” said the company. “This is an invitation to global collaboration, where developers worldwide can contribute their expertise, ideas, and passion to help this iconic software evolve.”

Alexandre Saboundjian, CEO of Winamp, explains: “This is a decision that will delight millions of users around the world. Our focus will be on new mobile players and other platforms. We will be releasing a new mobile player at the beginning of July. Still, we don’t want to forget the tens of millions of users who use the software on Windows and will benefit from thousands of developers’ experience and creativity. Winamp will remain the owner of the software and will decide on the innovations made in the official version.”

Read more of this story at Slashdot.

When given the choice, pet parrots prefer to video-call each other instead of watch pre-recorded videos of other birds. Those are the findings from a new paper (PDF) set to appear next week at a conference on Human Factors in Computing Systems in Hawaii. Phys.Org reports: The study, led by animal-computer interaction specialists at the University of Glasgow, gave tablet devices to nine parrots and their owners to explore the potential of the video chats to expand the birds’ social lives. Their results suggest that the clever birds, who often suffer from loneliness in captivity, may be able to tell the difference between live and pre-recorded content on digital devices, and strongly prefer interacting with other birds in real time.

Over the course of the six-month study, the parrots chose to initiate calls to other birds significantly more often than they opted to watch pre-recorded footage. They also seemed more engaged in the live chats, spending much longer on calls with other birds than they did watching videos from a library of options. The findings could help steer the future course of the emerging “animal internet,” which uses digital technology to empower animals to interact with humans and each other in new ways.

Read more of this story at Slashdot.

Ben Schoon reports via 9to5Google: Google’s Arif Dikici confirmed on LinkedIn this week that Android is now using VideoLAN’s (the makers of VLC) “dav1d” software decoder to allow AV1 to work on more devices. This is now available on all devices running Android 12 or higher via a software update. Mishaal Rahman points out that this started to roll out with the March 2024 Google Play system update.

Dikici says that “most” devices can at least support 720p at 30 frames per second, but that apps will need to opt in “for now” to support AV1 via software decoding. One app that has opted in is YouTube, which now uses AV1 on all compatible devices (though it may have reverted this). This may result in increased power usage depending on your device, though. Improvements on that front may be coming, though, says VideoLAN on Twitter/X.

Read more of this story at Slashdot.

Disney CEO Bob Iger said the company will add Hulu content to its Disney+ streaming app, adding that it will also raise the price of its ad-free streaming service later this year. CNBC reports: CEO Bob Iger said the company would soon begin offering a “one app experience” in the U.S. that incorporates Hulu content into its flagship streaming service, Disney+. Standalone options for all of Disney’s platforms, including ESPN+, will remain. “This is a logical progression of our DTC offerings that will provide greater opportunities for advertisers, while giving bundle subscribers access to more robust and streamlined content resulting in greater audience engagement and ultimately leading to a more unified streaming experience,” Iger said during Wednesday’s earnings call.

Iger attributed the move toward a one-app location for both Disney+ and Hulu content to the “advertising potential for the combined platform.” While Hulu has long offered an ad-supported option for subscribers, Disney+ launched the cheaper tier last year. Disney will begin to roll out the one-app offering by the end of the calendar year, and Iger said the company would share further details at a later time. In the company’s fiscal second quarter earnings, the company reported $21.82 billion in revenue, up 13% from the same period last year and beating estimates. It did, however, shed 4 million Disney+ subscribers.

Read more of this story at Slashdot.

Disney CEO Bob Iger Thursday said the studio may resume making films and television shows for its rivals, marking a departure from recent years, when its production resources were harnessed to launch and grow its marquee Disney+ steaming service. Reuters reports: Iger told the Morgan Stanley Technology, Media and Telecom Conference in San Francisco that streaming services have traditionally relied on a volume of fresh content to attract subscribers. He said he hopes to embrace a more curated HBO-like approach of making a few high-quality shows built around its major brands, as he works to lift Disney+ to a profit.

“As we look to reduce the content that we’re creating for our own platforms, there probably are opportunities to license to third parties,” Iger said. “For a while, that was something we couldn’t possibly do because we were so favoring our own streaming platforms. But if we get to a point where we need less content for these platforms, and we still have the capacity of producing that content, why not use it to grow revenue?” Iger also talked about the possibility of licensing content to third parties, noting that Seth MacFarlane’s animated series “Family Guy” draw viewers both on Disney-owned Hulu, as well as on the Roku streaming service.

Read more of this story at Slashdot.

The release candidate for Winamp version 5.9.1 builds on the groundwork laid by August’s 5.9 update to fix some bugs and add new features to the reanimated music player. “Most of these are straightforward updates or improvements to existing features, but because it’s 2022, one of the only new features is support for music NFTs,” reports Ars Technica. From the report: “Winamp’s latest version lets music fans link their Metamask wallet via Brave, Chrome, or Firefox to Winamp. It then connects their favorite music NFTs to their tried-and-true player,” the company said in a press release provided to Ars. “Winamp supports audio and video files distributed under both the ERC-721 and ERC-1155 standards, and is launching this new feature for Ethereum and Polygon/Matic protocols.” To directly display websites needed to download these NFT playlists, according to the release notes, would require an updated rendering engine for Winamp’s in-app browser, which is currently based on Internet Explorer 10.

There’s still plenty here for legacy Winamp fans to like, and it’s nice to see that all the modernization work done in the 5.9 update is paying off in the form of faster updates. Among many other fixes, the new release includes a “memory footprint reduction,” a bandwidth increase for streamed music, an update to OpenSSL 3.0.5, and a few other updates for the underlying codecs and other software that Winamp uses to do its thing. As for the NFT support, Winamp developer Eddy Richman (who goes by the handle “DJ Egg” on the Winamp forums) wrote that people who don’t want it can remove it, either during the install process or after Winamp is installed.

Read more of this story at Slashdot.

Spotify has purchased a company called Kinzen to help it detect and address harmful content in podcasts and other audio formats. Engadget reports: Kinzen uses machine learning and human expertise to analyze possibly harmful content and hate speech across multiple languages, Spotify said in a statement. It added that Kinzen will “help us more effectively deliver a safe, enjoyable experience on our platform around the world” and that the company’s tech is especially suited to podcasts and other audio formats.

The two companies have actually been working together since 2020, with the aim of preventing misinformation in election-related content. They forged their partnership before Joe Rogan started spreading COVID-19 vaccine misinformation on his Spotify-exclusive show, which is said to be the most-listened-to podcast on the planet. There was a significant backlash against Rogan and Spotify earlier this year. […] It may be the case that Spotify sees employing Kinzen’s tech as a means to help it avoid similar PR catastrophes in the future.

Read more of this story at Slashdot.

An anonymous reader quotes a report from Protocol: Google is gunning for Dolby Atmos and Dolby Vision: The company is looking to introduce two new media formats to offer HDR video and 3D audio under a new consumer-recognizable brand without the licensing fees hardware manufacturers currently have to pay Dolby. Google shared plans for the media formats, which are internally known as Project Caviar, at a closed-door event with hardware manufacturers earlier this year. In a video of the presentation that was leaked to Protocol, group product manager Roshan Baliga describes the goal of the project as building “a healthier, broader ecosystem” for premium media experiences. The company’s primary focus for Project Caviar is YouTube, which does not currently support Dolby Atmos or Dolby Vision. However, Google also aims to bring other industry players on board, including device manufacturers and service providers. This makes Project Caviar one of Google’s most ambitious pushes for open media formats since the company began working on royalty-free video codecs over a decade ago.

Google’s open media efforts have until now primarily focused on the development of codecs. The company acquired video codec maker On2 in 2009 to open source some of its technology; it has also played a significant role in the foundation of the Alliance for Open Media, an industry consortium that is overseeing the royalty-free AV1 video codec. Project Caviar is different from those efforts in that it is not another codec. Instead, the project focuses on 3D audio and HDR video formats that make use of existing codecs but allow for more rich and immersive media playback experiences, much like Dolby Atmos and Dolby Vision do. Baliga didn’t mention Dolby by name during his presentation, but he still made it abundantly clear that the company was looking to establish alternatives to the Atmos and Vision formats. “We realized that there are premium media experiences where there aren’t any great royalty-free solutions,” he said, adding that the licensing costs for premium HDR video and 3D audio “can hurt manufacturers and consumers.”

Dolby makes most of its money through licensing fees from hardware manufacturers. The company charges TV manufacturers $2 to $3 to license Dolby Vision, according to its Cloud Media Solutions SVP Giles Baker. Dolby hasn’t publicly disclosed licensing fees for Atmos; it charges consumers who want to add immersive audio to their Xbox consoles $15 per license, but the fee hardware manufacturers have to pay is said to be significantly lower. Still, in an industry that long has struggled with razor-thin margins, every extra dollar matters. That’s especially true because Dolby already charges virtually all device makers a licensing fee for its legacy audio codecs. A manufacturer of streaming boxes that wholesale for $50 has to pay around $2 per unit for Dolby Vision and Dolby Digital, according to a document an industry insider shared with Protocol. “For lower-cost living room devices, the cost may be prohibitive,” Baliga said during his presentation.

Read more of this story at Slashdot.